#entire character out because they don't like her or what she does or they think it's just a matter of preference if she goes to aretuza

[kursedmayo]

I HATEEEE it when people say Falin and Laois are EXACTLY THE SAME. NO THEY ARE NOT, WHAT.

LISTEN TO ME.

Falin is soft spoken. Shes the type to get spoken over. Her presence is faint and she's hyper conscious of other people's emotions and very much empathetic- up to the point that she would retract herself to make room for other people and generally more than self-sacrificial, her first thought is to rush into danger without considering it- unlike her brother who will at least analyze the situation first. This is why people like her so much, it's because she knows how to temper herself. She's wouldn't come off as intrusive, she doesn't dump people information about something unless they show her interest first. She's weird, but she stays out of people's business. That's Falin.

Laois is different. He doesn't mask- or at least, he rarely does, and he's a lot less aware of people's true emotions because he spent his childhood ostrasized and unable to connect with other people. This is why he's too much, he's overcompensating from everything he went through. Now that he's a bit safer from petty bullies and has some friends, he lets himself blurts things out and generally rarely considers how other people would perceive his words before he says or does things, because that's how we went through his entire life. This is why he accidently says offensive things without meaning to. From what I can tell from the Manga, he still wants to befriend people while not being able to understand them as much as monsters, so unlike Falin he's more likely to overstep people's boundaries and speaking over them while attempting to get closer- something which can bother people because they get trapped in a conversation where they don't want to be in, like Toshiro/Shuro.

(I also think this is why he was in such disbelief when Kabru said he was interested in Laois and wants to know him, because usually it's always the other way around.)

People like Falin more not just because she's a girl but because she's empathetic, calm and knows how to handle people despite being odd, so she comes off as charming. People don't like Laois because he's more hyper- especially if he likes you and is taking about his interests, PLUS he's not just odd he very obviously acts and says freaky shit, so it's easier to dislike or be annoyed with him.

Disclaimer, I don't dislike him, he's a wonderful character with relatable issues and to be honest, he kinda reminds me heavily of a friend of mine actually, but as someone who relates more to Falin I HATE the fact that the story spends so much time building up what Falin is like only for people to say that "SHES BASICALLY A CARBON COPY OF LAOIS!!!".

It kinda reeks of accidental misogynistic fandom behavior because tell me why you are unable to seperate a woman from her familial relationship and similarities with a man instead of awknowledging her as her own person even though the fucking story built up Falin's characterization over the chapters as someone who is CLEARLY different although similar to her brother.

GOD. I'M SO TIRED.

#text #kursed rambles #dungeon meshi #falin touden #laois touden #shuro dunmeshi

[rise-my-angel]

'BuT NeD ThInKs PoSiTiVeLy Of RhAeGaR' Ned thinks of Rhaegar ONCE that he was a man unlikely to visit brothels. From this we can conclude that he was not a sex pest like Robert. How on earth does this inform of Ned's personal feelings though? Ned is comparing Robert and Rhaegar and thinking in factual terms. Its similar to how he thinks of Aerys killing his father and brother but not once does he express hatred against Aerys. But we do know what he would think of Aerys, its common sense. Even if we go by 'Lyanna was willing' idea, Lyanna still died because Rhaegar impregnated her at 15 and then left her imprisoned without proper healthcare. She died because of Rhaegar's actions. People who use this argument are usually those who don't understand Ned's character very clearly, he is a man who while suffering from ptsd, suppresses painful emotions and feelings.

Ned Stark is SO MUCH more complicated then those people will ever give him credit for. They are desperate to paint him as so easily black and white when he is the most "living in the grey area" man to literally ever exist. They also refuse to give any context to that scene.

Because it isn't really Rhaegar Neds thinking about in that scene, it's Jon. Ned is in a brothel looking for one of Roberts many bastards, and connecting Robert to Lyanna to Rhaegar he wonders if Rhaegar was like Robert in that sense. The question Ned is really asking, is if there is a possibility that there are more people out there like Jon. He's asking himself if he's sure that Jon is alone and comes to the conclusion that yes, Rhaegar probably didn't sleep around like Robert and this comes to the conclusion that the only secret child of Rhaegars is in fact, still Jon.

But it's like you said, Ned strongly buries his true emotions deep down. He is a very traumatized man who has never truly gotten past the point in his life where his sister died in front of him. Ned is still trapped in that room and the haunting smell of blood and roses. Ned was described as catatonic for a while after Lyanna died and he never truly came out of that emotionally. He keeps everything inside very deeply and is utterly haunted with that upcoming trauma once the main story starts. His every action in Kings Landing is rooted in that trauma of what happened to Lyanna and the deep fear of what will happen to Jon. Everything he does in Kings Landing is about that, Neds priority in the story, is Jon. That dicates everything he does in the main plot because he is deeply traumatized and terrifed of what will happen to his son.

There's even a strong argument to be made that had Robert never come to Winterfell and involved the Starks directly within the dealings of the Crown, that Ned wouldn't ever have let Jon join the Nights Watch. That agree or disagree with letting him, that a big reason he allows it, is out of the fear of Jon being anywhere near the people Ned's spent Jons entire life protecting him from. That Ned would rather Jon be in the Nights Watch, then hunted down and murdered by Robert.

Ned the entire story and half of his life has been burying very deeply rooted trauma of what happened to Lyanna, and has been motivated that same time to put Jon as one of his biggest priorities right up until his death. But because he keeps this all buried deep inside, its easy for people, mostly Rhaegar defenders, to paint him as black and white, a bad father, a mindless soldier with no autonomy outside of Robert, a selfish man.

Ned Stark is one of the best written characters in recent literature, theres a reason he's still remembered and talked about to this day, and it is certainly not because he is as black and white as Rhaegar stans desperately try to slander him as.

#if i asked a random person what series is ned stark from #theyd probably be able to at least say game of thrones #if i asked a random person what series rhaegar targaryean is from #id bet most random people couldnt tell me or at best would make a lucky guess #game of thrones #a song of ice and fire #asoiaf #ned stark #eddard stark #anti rhaegar targaryen #anti rhaegar x lyanna #anti rhaegar stans #anti targ stans #anti targaryen

[unfortunately-a-miraculous-fan]

Every goddamn day, I think about how Chameleon was a very stupid episode, but for the exact opposite reason that I initially thought it was.

I always thought it was because the entire class was acting unreasonably stupid, but they were actually pretty reasonable, all things considered.

It was Marinette's writing that was the issue.

You're not gonna complain about your assigned seat being moved around to accommodate a disabled new student, nor demand proof of her disability, that would just be a dick move. (It doesn't make sense for the ENTIRE CLASS to be moved around, but I'll ignore that point because it's just kind of a nitpick.)

Many members of the class have personally met at least one celebrity, with a few classmates even being celebrities themselves. Lila's stories are certainly out there, even by this class' standards. But it's her first day, and again, most regular people don't hound others for proof on claims like this, even the ridiculous claims. (It doesn't make sense for the class to be so enthralled by her stories, but I would just chalk that up to them being nice to the new kid. The show does get kind of ridiculous with how much the class trusts her later on though.)

Lila could've absolutely caught that napkin on instinct. It would've hurt, but she wouldn't be thinking about her injury because that's how instincts work. Lila actually almost drew unnecessary attention to herself by making up that "explanation" on the spot, as protecting herself with her injured wrist needed no defending in the first place.

The only reason Marinette knew about Lila's lies to Adrien is because she stalked the two of them, which Alya and Nino are rightfully distrustful of. (It's still completely stupid for them to ignore her story entirely though. That's potential evidence of Lila lying to someone. At the very least, they should've verified the story with Adrien. But they just completely blew it off, and that point is never brought up again.)

From the class' perspective, Marinette complained about accommodations made for the new girl's disability because she wasn't allowed to sit close to her crush anymore, demanded hard evidence of the new girl's claims despite having some ridiculous celebrity stories herself, threw a napkin at her, potentially making her wrist injury even worse when she protected herself out of pure instinct, and then stormed off when that didn't work out in her favor.

I don't like this episode, not because of the way the class was acting, but because they took the girl who is supposed to be the smartest character in the show, and had her make probably the worst possible decision in every single situation. There are fatal flaws that cause characters to make understandable mistakes, and then there are characters just ignoring the obvious right answers because that would make far too cohesive of a plot, I guess.

They could've literally had some Spy vs Spy esque shenanigans between Lila and Marinette where neither can openly admit what they both know the other knows and have to skirt around social barriers in order to make the other look bad while saving face themselves. That would not only write itself, but would make more sense given their respective characterizations and would allow for much more interesting drama and character dynamics across multiple seasons.

#miraculous ladybug #ml #miraculous #lila rossi #marinette dupain cheng #ml analysis #ml critical

[pinkandpurple360]

taking a count of the episodes, Stolas is likely to appear in 8/12 of them - literally two third of the entire season. meanwhile the other members of IMP have been thrown to the wayside to make room (and the show potentially intends to introduce yet more Goetias...)

I've got a theory about the themes of s1 and s2 and tbh I think it's fairly supported by the text. so the theory is basically this:

Season 1 is the Blitzo season. Season 2 is the Stolas season

but when you compare the two, it's...telling

Season 1 - basically a whistle stop tour of most of the people Blitzo has hurt in the past (Fizz, Verosika) and the ways in which he is on track to mess up his current relationships in his new life if he doesn't change (pushing boundaries with his employees by stalking M&M, needing to give Loona some space to grow up, being a liability to his own business through his lack of professionalism and impulsiveness).

In the effectively two part finale of e6&7 (not counting 8, it does little to tell us stuff we don't already know) it is made brutally clear that Blitzo desperately wants love and intimacy but doesn't know how to get there because he doesn't know how to be vulnerable with people. He ends the episode crying on the couch while knowing that despite having people in his new life, he's still alone and will remain so if nothing changes

Season 2 - opens on a flashback to Stolas as a child where it's revealed the woman he cheated on was an evil monster since birth and only he was the victim in the arranged marriage scenario. He was the only victim when he was forced to have a child he didn't want and the only victim when he kept the marriage going despite it not working for anyone involved. He coerced Blitzo into a sexual arrangement in season 1, but Stolas was the real victim there because...um...Blitzo seduced him for the book and took it after a one night stand, even though sex with Blitzo was something Stolas clearly wanted but didn't have the guts to admit (and he was also the first one to make it sexual, claiming Blitzo came to ravish him for no logical reason whatsoever after shutting them in a room together) and anyone with a brain should be able to figure out that if someone robs you after a one night stand then ghosts you, they aren't actually into you. Sings about how what's between them is a 'lie' despite Stolas initiating it and deluding himself the whole time.

From then on nothing is his fault. He refuses to take any responsibility for his daughter running away and him somehow being unable to find her because he didn't memorize his own spells (he gets out half an apology for forgetting Astaroth's tears before the writing forces Via to let him off the hook). Sexualizes Blitzo some more after being told not to, right when Blitzo could have used some genuine support and comfort.

Spends the rest of the season having people come to his defense on his behalf and having his history with Blitzo being rewritten to include sweet offscreen phonecalls. Decides his cheating didn't matter because Stella never loved him - never mind that the family name is all she's got since she isn't royalty like him, and his adultery is making a joke out of her. Doesn't actually apologize for Ozzie's. Goes to Ozzie for a crystal then acts weirdly shy and says 'no, never that!' when Ozzie talks about lust despite lust being the defining feature of his relationship with Blitzo even into s2.

Is likely to spend the rest of the season shaming Blitzo for not loving him, barely doing anything to address Blitzo's problems with him...and then will promptly be rewarded with Blitzo's love, either because Blitzo gets jelaous when the plot hands him a new boyfriend or because Blitzo decides Stella abusing Stolas means he's a good person, actually

like when you lay it all out it's kind of impressive.

Season 1 is a mostly effective deep dive into why the main character is the way he is, why it's hurting him and an indictment on the current way he lives and behaves

Season 2 is non stop coddling of Stolas and hitting the nail of the viewers' memory of season 1 with the constant hammer of Nothing is Ever Stolas' Fault and You're Wrong if You Think Otherwise, We Called Striker a Bigot to Prove It

what's even more galling is that at least part of Blitzo's behavior is due to being raised in poverty by an abusive father who taught him stealing to get ahead was the right thing to do. part of the chip on his shoulder now is due to people underestimating imps (they don't run businesses often, according to Striker, and most other city imps we see are working low paid service jobs) and thinking they can treat them however they want. but the show will still attempt to frame Blitzo as being in the wrong when he acts out and have characters hold him to task, even if the writing is half-assed about it

meanwhile Stolas is a literal prince but he apparently can't bear the minimum amount of pushback from Blitzo. he's had the power to treat imps like objects his whole life but the show circa season 2 won't permit him to do anything but the minimum amount of introspection about it

God it’s enraging the more I read through this, and you can really tell rich people wrote it. Season one was fantastic, season two shat all over it because that one Erin frost fanart was eaten up like crack and made canon. (Sorry frost it’s not your fault)

Don’t act like what we have is anything but you wanting me to F you ok you make that really clear all the time

Is the best line in the show.

Sounds like you just hate him for being a prince

Is the worst. You could replace prince with “rich” “white” “a man”

Like holy shit you have an abrasive but endearing guy with friends in a tense precarious connection, but they fucking love him and he loves them despite his worsening quirks, with him honestly being the second most toxic one after Loona. Someone who’s been sexually objectified his whole life and just needs respect, affection, open communication, and gentle reassurance, but someone who can also keep his ego in check. Not someone who puts their needs over his and hates when he has feelings that aren’t convenient. Hears him out when he breaks down doesn’t shove him away.

Like hmm I dunno I’m just spit ballin here

“Why didn’t you try to tell me any of this?”

“Misunderstanding or no, it’s hard to just forgive you”

“What do you want, a medal?”

“You’re pretty good at this action hero bullshit”

“He earned it (love)”

Sorry I could talk about them for hours…they’re just so good together it hurts. Even as kids they bounced off each other but fizz kept him in check.

What he doesn’t need is mind games, public humiliation, a glorified martyr, somebody who demands constant favours and takes and takes until there’s nothing to give. And only reaffirms to him how much of a nothing he is when he has no right to do so. You aren’t owed a relationship. That’s monstrous. Stolas is literally an incel.

#helluva boss critical #stolitz critical #creators pet

[golbooty]

Betty Grof rant essay 6 months late!! i'm still heartbroken here's 1000 words about it!

I still have so many Thoughts and Feelings about Betty's character that I made a whole separate sideblog more or less just to share them so if YOU are also afflicted with this brainrot then welcome

So after 2 rewatches of fionna and cake and having Simon and Betty infect my brain like a pair if ill-fated amoebas for the past six months I have a random burst of energy and. want to share why I feel so disappointed in the conclusion Betty's character arc.

I feel like most of the positive reviews of the casper & nova + cheers call them "bittersweet", but I honestly can't see anything sweet about the ending. Simon's obvious immense guilt/trauma/depression aside, they're really just going to leave Betty like that? She no longer has a corporeal form and is perma-fused with a malevolent cosmic deity forever. There's no bittersweet maybe-in-the-next-life or deadworld ending for Betty. There's no "I can't be with the love of my life but I get therapy and friends and ride into the sunset". She's just... gone, at least if we take the narrative at face value. We obviously don't really know exactly what being Golbetty is like for Betty, the only hint being choosegoose describing it as "languishing", which isn't positive. I've seen a few people retort that "maybe Betty likes being an all powerful chaos deity" which, maybe? But nothing Betty ever did implied that she would enjoy that or want that type of power. Her only wish was to cure Simon and be with him again.

I also can't be convinced that Betty would've chosen to fuse with Golb if she'd been of sound mind. Beyond the MMS-ness, it's difficult to imagine the depth of her guilt/horror realizing what she'd done to Simon by jumping through the time portal, essentially condemning him to 1000 years of thinking she'd abandoned him and died in a nuclear apocalypse at best, and at worst leaving Simon with the belief he somehow harmed/killed her without knowing it. For. A thousand years.

As if that's not enough guilt, the first thing Simon does after their reunion in AT is beg her to let him die instead of becoming Ice King again. And she refuses, because this is Betty we're talking about, and she just won't give up. She promises Simon she'll figure out a way to cure him without realizing that it will be nearly impossible and then drives herself mad trying. Just.. the immense guilt that Magic Betty must've felt knowing she stole Simon's one chance to escape the curse and pass on peacefully, and now he's trapped in his own mind waiting for her to free him and she just can't figure out how.

On top of that, you have Magic Betty summoning Golb as a last ditch effort which ENDS THE WORLD. Having Betty revert back to her sane(ish) self alongside Simon inside Golb and fully confront the consequences of Betty's actions was... narratively great but also cruel. Betty clearly understood she just triggered the apocalypse- "this world will end unless Golb is banished" and "I'm sorry for messing everything up" and absolutely feels like it's her responsibility to fix that. And I think the most heartbreaking part of that entire scene is Simon just... giving up. He's not upset with her for not letting him die or abandoning him or ending the world he just. Holds her and tries to comfort her That must've been... really something for Betty.

I know Simon/Ice King is touted as the big tragic character in Adventure Time, and while yeah, fair take, I really can't get over the immense tragedy that is Betty Grof's story. She's never allowed to be happy. We don't learn much about her background, but most of her character traits to me at least point to an unhappy childhood (extreme impulsivity, disregard for her own well-being, obsessive tendencies, self sacrificing). She falls deeply in love and accidentally loses her sense of self and purpose in it. Then her fiance, the love of her life, loses his mind and starts attacking her. Then she impulsively jumps 1000 years into the future because she sees him and she loves him so much and she can't stop herself, but he's gone in an instant and now and the world is completely unrecognizable and she has no one. Simon has been warped into a demented lunatic, and she knows he's still her there and it's her fault. Then she goes absolutely bonkers-crazy trying to fix everything and starts betraying people left and right, then nearly destroys the timeline (including herself!), then it culminates in her ending the world. (sidenote: I fucking love how powerful Magic Betty is. like she's a random human who maybe learns magic for a year or two and figures out how to both destroy an entire timeline and summon the most powerful being in existence? ?? fuck I love Betty.) Then she condemns herself to an infinity of suffering in order to keep Simon safe. Like fuck.

I love a good Christ figure/big sacrifice, but I don't find Betty's arc bittersweet or satisfying at all. She didn't want nor deserve her fate, she was forced into it and ultimately destroyed herself out of guilt and grief. It's just... bleak. Every small mistake Betty makes is punished beyond reason. She's burned up and torn up and twisted and it's ultimately because she loves someone too much and wants to save him. She's robbed of the chance for any real character growth or happiness.

Ultimately, I think the show did try to give her and Simon closure, but it went about it in such a bizarre, unconvincing way. They both felt so out of character in Casper & Nova and Cheers that it just seemed flat and unfulfilling. Any character development Betty underwent as Golbetty happened off screen, which is maybe why she seems so... not Betty, especially in Cheers. And I mean, "I have no regrets" my ass, after everything she (unintentionally) put Simon and herself through, that line feels almost cruel. Not to go all "he wouldn't say that" but... she wouldn't say that. On top of that, her final message to Simon seems to be "don't you dare sacrifice your mind and humanity for the sake of someone else" WHICH IS EXACTLY WHAT SHE DID? Also see paragraph 2: she's still fused with a malevolent chaos deity isolated in the cold vacuum of space.

I sort of understand not wanting to give Betty and Simon a happy ending together, although I still think done correctly it could've been a satisfying and good ending, even if Fionna and Cake seems to retconn a lot about their relationship that paints it rather unfavorably. More than anything, though, I wish they'd shown Betty an ounce of mercy. She's a phenomenal character, she's funny and smart and impulsive and stubborn and so good. Her character had so much potential for growth and fulfillment and happiness and she just ended up being a plot device for Simon's arc and I will Not forgive that. The ultimate message of her story is that suffering begets suffering and mistakes will be punished to the fullest possible extent. I know to some that feels "realistic" but this is adventure time and that's a harrowing fucking message to end on.

#grrr grr grrr biting hard #betty grof #fionna and cake #petrigrof #simon petrikov #doing this instead of upcdating my fic. sorry betty nation #I WANT TO spend more time on this but assignemnts sorry. i think that's most of my thoughts though

[hanzajesthanza]

it really does matter so much that fringilla vigo is nilfgaardian, beauclairoise, for many reasons, but let's start here:

her entire role is that of an illusionist; one which she would not be were it not for her family lineage, rooted in beauclair:

There was a corridor in Beauclair Palace, and at the end a chamber, the existence of which no one knew about. (...) The corridor and the chamber, disguised by a powerful illusion, were known only to the palace’s original elven builders. And later–when the elves had gone, and Toussaint became a duchy–to the small number of sorcerers linked to the ducal house. Including Artorius Vigo, a master of magical arcana and great specialist in illusions. And his young niece, Fringilla, who had a special talent for illusions.

and since her talent in illusions is well-defined in the series, as it is her who grants geralt the very silver-mounted chrysoprase amulet which saves his life in the final fight against vilgefortz:

Geralt clenched Fringilla’s medallion in his fist. The bar fell with a clang, striking the floor a foot from the Witcher’s head. Geralt rolled away and quickly got up on one knee. Vilgefortz leaped forward and struck. The bar missed the target again by a few inches. The sorcerer shook his head in disbelief and hesitated for a second. (...) ‘I didn’t know …’ Yennefer said at last, scrambling out of a pile of rubble. She looked terrible. The blood trickling from her nose had poured all over her chin and cleavage. ‘I didn’t know you could cast illusory spells,’ she repeated, seeing Geralt’s uncomprehending gaze, ‘capable even of deceiving Vilgefortz.’ ‘It’s my medallion.’ ‘Aha.’ She looked suspicious. ‘A curious thing...’

that talent is something which cannot, by far, be separated from her character. and returning back to her lineage, it is again her familial relations which place her in beauclair.

she was positioned there, ready to intercept geralt, as early as the autumnal equinox in september, by which time geralt had barely just left the town of riedbrune:

The world over, the autumn Equinox was a night of spectres, nightmares and apparitions, a night of sudden, suffocating awakenings, fraught with menace, among sweat-soaked and rumpled sheets. Neither did the most illustrious escape the apparitions and awakenings; (...) In the huge castle of Montecalvo the sorceress Philippa Eilhart leaped from damask sheets, without waking the Comte de Noailles’ wife. The dwarf Yarpen Zigrin in Mahakam, the old witcher Vesemir in the mountain stronghold of Kaer Morhen, the bank clerk Fabio Sachs in the city of Gors Velen and Yarl Crach an Craite on board the longboat Ringhorn all awoke more or less abruptly. The sorceress Fringilla Vigo came awake in Beauclair Castle*, as did the priestess Sigrdrifa of the temple of the goddess Freyja on the island of Hindarsfjall.

* Slight correction - As explained in Chapter 3 of Lady of the Lake, Beauclair is not a castle, but a palace.

and she's only invited to beauclair in such a capacity because she is a relative of the duchess:

‘I’m in Beauclair because the largest, best-stocked library in the known world is here. Apart from university libraries, naturally. But universities are jealous of giving access to their shelves, and here I’m a relation and good friend of Anarietta and can do as I wish.’

(whom, you may note, she stands by and jointly receives geralt with at their first meeting, and participates in the festival of the vat with)

and therefore, she was in a perfectly strategic position to delay geralt, keep him captive:

‘(...) Please at least tell us … has the Witcher calmed down now? Are you capable of keeping him in Toussaint at least until May?’ (…) ‘No,’ she answered at last. ‘Probably not until May. But I’ll do everything in my power to keep him here as long as possible.’

because fringilla is not just an illusionist literally, as in the magic she is naturally gifted at, but 'illusionist' is her entire identity as a character.

and as her family hails from beauclair, this specific identity is compounded with the fact that beauclair itself is the center of illusions, a dreamland, a fairytale:

‘There’s something bewitched about this place, this fucking Toussaint. Some kind of charm hangs over the whole valley. Especially over the palace (...) no two ways about it, there’s something bewitched about this bloody Toussaint.’

fringilla is an illusionist because she is beauclairoise. she not only hails from a long line of illusionists, but hails from, is related to the ruler of, the very city of illusions and dreams.

she is the illusionist not just in a literal sense, but in the entire narrative role of casting an illusion over our hero, because it is the illusion of love which keeps her and geralt in beauclair. (the tricky trick is that geralt, taking a page out of yennefer's playbook of seduction, cleverness, patience, was able to cast an illusion upon the mistress of illusions herself, free himself from the witch's spell, awake from a pleasant dream to face the harsh reality).

(sighs) and even if you want to forget fringilla's beauclairoise identity and erase her entire positioning as the illusionist which poses a threat to our heroes, entices them to complacency, her role as nilfgaardian in the sense of her academic identity and imperial service also defines her.

because it is also fringilla, the illusionist who casts the wool over people's eyes... who blinded yennefer at sodden hill.

‘We’ve already met,’ Yennefer spoke again. ‘I don’t recall,’ Fringilla said without looking away. ‘I’m not surprised. But I have a good memory for faces and figures. I saw you from Sodden Hill.’ ‘In which case there can be no mistake,’ Fringilla Vigo said and raised her head proudly, sweeping her eyes over all those present. ‘I was at the Battle of Sodden.’ (...) ‘Occasionally one happens to see another person for only a split second, right before going blind, and one takes a dislike to them instantly.’ ‘Oh, enmity is considerably more complicated,’ Fringilla said, squinting. ‘Imagine someone you don’t know at all standing at the top of a hill, and ripping a friend of yours to shreds in front of your eyes. You neither saw them nor know them at all, but you still don’t like them.’ ‘So it goes,’ Yennefer said, shrugging. (...)

fringilla's (proud!) participation at the battle of sodden is a crux of the lodge, because she alongside her good friend, the scholarly assire, they are nilfgaardians who, owing to their nationality, find challenges meshing with the northern sorcereresses. the lodge brought together representatives of magic across nationalities in the midst of a raging, bloody war between them all.

and it's so integral to fringilla's character that she has imperial biases, that she approaches even the international lodge with an imperialist view.

with no factual basis, she initially exotifies and sexualizes the northern sorceresses, despite her own prior denial of these base stereotypes:

Fringilla Vigo was putting on a brave face, but she was anxious and stressed. She herself had often reprimanded young Nilfgaardian mages for uncritically yielding to stereotypical opinions and notions. She herself had regularly ridiculed the crude image painted by gossip and propaganda of the typical sorceress from the North: artificially beautiful, arrogant, vain and spoiled to the limits of perversion, and often beyond them. (...) Her untrammelled imagination offered up images of impossibly gorgeous women with diamond necklaces resting on naked breasts with rouged nipples, women with moist lips and eyes glistening from the effects of alcohol and narcotics. In her mind’s eye Fringilla could already see the gathering becoming a wild and depraved orgy accompanied by frenzied music, aphrodisiacs, and slaves of both sexes using exotic accessories.

she even has a difficult time understanding why the northern sorceresses are upset about the nilfgaardian invasion, believing it to be a boon to their society. only through their discussion does she just barely begin to grasp the meaning of "invasion" and why she wouldn't want to be on the receiving end of it:

Some were clearly anxious about the close proximity of Nilfgaard. Fringilla had mixed feelings. She had assumed that such educated people would understand that the Empire was bringing culture, prosperity, order and political stability to the North. On the other hand, though, she didn’t know how she would have reacted herself, were foreign armies approaching her home.

all of this indoctrination into imperial beliefs, at the same time that she is an educated woman, and herself, as an imperial sorceress, known for being rebellious and an upstart within her own culture:

‘Stop staring,’ Assire said, touching her bouffant and glistening curls. ‘I decided to make a few changes. Why, I just took your lead.’ ‘I was always taken as an oddball and a rebel,’ Fringilla Vigo chuckled. ‘But when they see you in the academy or at court…’

this is such a chaotic rambling post, but all i want to say is that fringilla's character, like most of the minor characters in the witcher series, was not invented through random generation, a roll of the dice, a spin of the wheel. her specific traits - such as her nationality, lineage, talents - all relate back thematically. everything is relevant, specifically chosen to create a specific character.

if once changes her backstory (e.g., to place her at aretuza... though i don't know who would do such a thing for no reason) they would change her entire character, the series' commentary on imperialism, and because of her role she takes later on, even the entire ending of the story.

#fringilla vigo #c: fringilla #the witcher books #book: lady of the lake #listen i don't enjoy her character as in i don't think about her 24/7 but i am begging my fellow fans to not just throw her #entire character out because they don't like her or what she does or they think it's just a matter of preference if she goes to aretuza #because these specificities define her entire character which define the entire stay in beauclair which define the assault on stygga castle #which define the entire ENDING of the saga which define the MEANING of the saga #these little guys (fictional characters) are like dominos or jenga blocks. if you move one little thing it changes everything #like there's so much meaning and symbolism to the wintering in beauclair it kills me to see people throw it out the window #bro they were caught in a dream a pleasant dream #and you also know what. the way we see beauclair. is FROM a dream. from condwiramurs' intentional oneiromancy #it's literally a dream about dreams #AUGH i lose my shit over the fakedeepness of lady of the lake #also her name is the latin for chaffinch. she's a little bird: https://en.wikipedia.org/wiki/Fringilla #which i am... guessing... relates to the wintering theme... perhaps... #analysis

[navree]

i think the issue is that, because the dance of the dragons would be seen as a pretty black and white issue for any modern audience (is there anyone who reads fire and blood and ISN’T on team blacks), and because the showrunners wanted to make this more of a muddied water situation, they have put a lot more effort into characterizing and fleshing out “the queen’s party” than they’ve done with “the party of the princess”. we learn a lot more about and get a lot more character work for people like alicent and aemond and helaena and even aegon, far more than we ever do about jace or luke or joffrey or baela or rhaena or even rhaenys, and don’t get me started on how just fucking confusing daemon is half the time, and what we know about people like corlys is pretty one note. rhaenyra’s the only one of that side who’s getting anything fleshed out, as opposed to literally everyone else opposing her where we get things like otto’s ambition warring with his love of family, while everyone on her side of the board is ridiculously flattened out to one or two character traits, or basically being furniture, where we get things like me being genuinely confused over which of laena’s twins is betrothed to who and how does she even feel about it, who knows. 

and it’s ending up in this bizarre situation (for me at least), where intellectually i’m on the side of the blacks because they’re just in the logical and moral right of the situation that’s going to create the dance, the matter of the succession, but i’m so much more emotionally invested in the greens and in their desires and growths and struggles. 

#personal #house of the dragon #i do think it's a genuine issue that i can tell you a whole lot more about helaena than i can tell you about jace or luke #god i know more about what motivates criston than about what motivates literally rhaenys #(don't even get me started on daemon there's a lot of choices they've made for him that i do not understand the point of) #(i just think one of the writers has it in for him or really hated the seasons with the eleventh doctor on doctor who & got his revenge) #but like rhaenyra is the only one on team blacks that i'm invested in as a CHARACTER #(and little aegon but that's just cuz i'm ready for whoever plays him during A Certain Scene to act his little heart out) #like i get fleshing out the greens i do and i'm actually quite fine with it #as i've said show alicent is probably one of my favorite characters #but this appears to be coming at the expense of doing anything about anyone who isn't rhaenyra on team blacks #like i had to find out that one of them twins (i can't remember which one because again no characterization) was mad #about aemond claiming vhagar because SHE wanted to claim vhagar through a stan defending that on twitter #shouldn't i be figuring that shit out from the WRITING #like this is literally a writing fail because shit goes sideways for the blacks a lot more than it does for the greens #and i'm supposed to care when these people start dying and right now i don't #this entire episode is about whether or not corlys is going to kick it and i feel no emotion at the prospect whatsoever #and i think it's doubly important because one of the most egregious acts done in the entirety of the dance #(the incident with blood and cheese and what they did to helaena and her children) #is inflicted onto the greens by the blacks and it happens pretty early on and i'm definitely going to feel a lot more about THAT #than about aemond literally jumpstarting the conflict by killing lucerys for no reason #(tho i imagine even if they continue on this track i'm still gonna have thoughts about A Certain Scene entirely cuz of little aegon) #anyway point is i think fleshing out the greens is good but doing so at the expense of fleshing out any of the blacks beyond rhaenyra #is a serious writing flaw that is going to start biting them in the ass real soon

[majimassqueaktoy]

I miss Haruka.

#Don't think it ever occurred to me how integral Haruka is in making Yakuza as a series what it is until she was down for the count in 6 #Like you guys have followed me you know that I love her dearly- I did all the Haruka's trust stuff because she's that beloved by me #it's not as if I haven't found her extremely important the entire time #but it does just strike that once you take Haruka mostly out of the equation Kiryu does not feel whole as a character #if it weren't for her he would have probably died years back #Like I love Majima so much but Majima doesn't have to be interacting with Kiryu in a Kiryu game for me to still be having a good time #with Haruka its like. No she HAS to be here in some way or shape or it just feels empty and lonely #5 was so interesting because they were separated and we got to see how that separation effected them. #I don't know what I'm talking about the point I'm making is Haruka's like a sleeper agent #You SHOULD love her from the get go but she slides into the series so well that you don't even question her presence its just like Yeah #She has to be here. If you take Haruka away and she didn't exist in the games I wouldn't love them half as much because she's the constant #through line and heart of the series. To the point where I think people underestimate how much she makes these games special #... I love Haruka 🤧

[the-busy-ghost]

Me: Ah nice I'll just have a little nap and then get on with my reading

My brain, an hour and a half later: 'Now let's go back and talk further about George Kirrin...'

#Does everyone go through the *sits bolt upright in bed after a sudden realisation about George* experience #I haven't even read those books since I was a kid #I do NOT have the time to reread them nor the copious number of essays that I am sure have been written about George #But my takeaway is from- what I remember- #George was not your regular 'tomboy' in fiction; like whatever was going on there #I don't think George can be held up as the archetype of literary tomboys #There were extra layers on top of the traditional 'tomboy' depiction #Like I'm pretty sure I remember George getting more annoyed that people didn't mistake her for a boy #Than being shut out from things because she was a girl #I may be misremembering but every other tomboy character I remember wanted to be mistaken for a boy #so she would be allowed to do the fun adventure things that boys got to do #Whereas George seemed as interested in doing the fun adventure things BECAUSE that was what boys did #Also I'm pretty sure there was one scene where she's annoyed with another female character #Not because they're doing 'silly' girly things but because they're better at passing for a boy than she is #Anyway it's just that even with the most tomboy literary characters I don't remember any of them ever being explicitly described #as wanting - not to be treated as a boy- but to BE a boy full stop #However I have not read these books in about eighteen years now so I may be waaaay off #And it's a bit annoying I don't have time to go back and reread #Especially because otherwise the Famous Five books are perhaps PEAK 1950s British middle class stereotyping #And also explains some parts of my childhood- I didn't entirely identify with George but she was definitely a revelation #Also because the other literary tomboys were like Cool and Tough and managed to conform to an ideal of femininity and masculinity at once #But George CRIED #As an overly emotional child who felt- and still feels- that crying often invalidates my argument or identity #That's kind of interesting #George could be a little messy! But she was a child and it still wasn't fair to put her back in a box because of it! #She's an Imperfect Tomboy and as a kid reading it she could be a disappointment but rereading as an adult I think it would seem more real #ANYWAY that's enough of that for tonight #(Also on the literary tomboy front- surely more could be written about Bill from Malory Towers but that's for another time)

[tracfone]

anyways chelldos fucks and uh. so i guess this dynamic is not great in any real world sense as it can only work with the canon if the both of them for the most part just stay underground together forever alone isolated from the world but also i really do not care. also i think along the way they do (canonically) and will (fanonically in my brain, in my head, lmao) develop a lot of trust in each other and mutual understanding and interdependence that puts them on equal footing with one another rather than like, glados being this big towering force you cannot overpower

#i dont know sorry im special interesting so hard #like i said in the tags of that reblog i'm still finishing off portal 1 but it's really gripping honestly #also i love glados A Lot lmfao #you give me a really mean character and that's one thing. but you slowly humanize them and i'm so gone #my ships follow a pattern of like. 'this character is quite literally the entire fucking world to the other and vice versa' #that's a pretty common thing to say. in fanfic and in real life though sometimes a flag in real life #**a red flag i mean #with fradrian the overarching codependency is solved (in my head) by gentle mutual encouragements to go to therapy #and a large support network around them they slowly acclimate and warm up to #because they are initially so so so unhealthy. just as individual people #but i think they can learn a lot from each other. they are both sick but they have traits that the other does not posess #with chelldos and the prospect of being hundreds of feet underground completely separated from the outside world #and let's be honest. could they acclimate to the outside world? #there's not really much of a chance there #but i don't think the codependency has to be 'solved'. i don't know. hit me with a car or whatever but i want to enjoy that for what it is? #just a hugeass robot and her engineer caretaker who she's kind of completely at the mercy of now but who treats her repairs as #a labor of love quite literally #oops that's part of my au i daydreamt up #mild portal spoilers i guess it's very lightly implied but /i've/ seen the spoilers )))): #anyways fuck that stupid theory. i really refuse they'd go out of their way to write them like that and redact it with a mother-daughter #relationship that would be incredibly fucked

[demilypyro]

So I've seen a few too many people on twitter talking about The Kiss Scene from the new Scott Pilgrim anime. People saying it's fetishistic and indulgent, people calling it male gazey, etc. And while the kiss itself is certainly a bit exaggerated, I felt like writing a bit about why I disagree, and why context is important, like it always is. But it basically turned into an extended analysis on the metatextual treatment of Roxie Richter. So bear with me. It's a long post.

What really matters about this scene is not the kiss itself, but what precedes it. Not even just the fight scene just before it, but what precedes the whole anime series, really. And that's the Scott Pilgrim comic book, and the live action movie. Because in both, Roxie is a punchline.

She's a joke. Her character starts and ends with "one of the exes is actually a girl, I bet you didn't expect that." Jokes are made about Ramona's latent bisexuality, the movie especially treating it as funny and absurd, and her validity as a romantic interest is entirely written off by Ramona as being "just a phase." There's a fight scene, she's defeated by a man giving her an orgasm which implicitly calls her sexuality into question (come on), and the movie just moves on. It sucks. It really, really sucks.

The comic fares a little better. It never veers into outright homophobia like the movie does, and while the line about Ramona having gone through a phase remains, Roxie actually gets one over on Scott when Ramona briefly gets back with Roxie. But Roxie is still only barely a character. Like all the other evil exes, she's just a stepping stone towards the male protagonist's development. She barely even gets any screentime before she's defeated by Scott's "power of love." But Roxie stands out, since she's the only villain who is queer, or at least had been confirmed queer at that point (hi Todd). In a series that champions multiple gay men in the supporting cast, the single undeniable lesbian in the story is a villain. She's labeled as evil, made fun of, pushed aside in favor of the men, and then discarded. Her screentime was never about her, or her feelings for Ramona. It was about the straight, male protagonist needing to overcome her. And that was Roxie Richter. An unfortunate victim of the 2010s.

Fast forward to current year, and the new anime series is announced. Everybody sits down to watch the new series expecting another retelling of the same story, and.... hang on, that straight male protagonist I mentioned just died in the first episode. And now it's humanizing the villains from the original story. And there's Roxie, introduced alongside the other evil exes in the second episode, and she's being played entirely straight, without a punchline in sight. No jokes are made about her gender, no questions are made of her validity as one of Ramona's romantic interests. The narrative considers her important. In one episode, she already gets more respect than she did in either of the previous iterations of Scott Pilgrim. And this isn't even her focus episode yet... which happens to be the very next one.

The anime series goes to great lengths to flesh out the original story's villains and to have Ramona reconcile with them. And I don't think it's a coincidence that Roxie gets to go first. While Matthew Patel gets his development in episode 2, Roxie is the first to directly confront Ramona, now our main protagonist. This is notable too because it's the only time the exes are encountered out of order. Roxie is supposed to be number 4, but she's first in line, and later on you realize that she's the only one who's out of sequence. She's the one who sets the precedent for the villains being redeemed. She's the most important character for Ramona to reconcile with.

What follows is probably the most extensive, elaborate 1 on 1 fight scene in the whole show. Roxie fights like a wounded animal, her motions are desperate and pained. Ramona can only barely fight back against her onslaught. Different set-pieces fly by at breakneck speed as Roxie relentlessly lays her feelings at Ramona's feet through her attacks and her distraught shouts. And unlike the comic or the movie, Ramona acknowledges them, and sincerely apologizes. And the two end up just laying there, exhausted, reminiscing about when they were together.

Only after this, after all of this, does the kiss scene happen. Roxie has been vindicated, she has reconciled with the person who hurt her, the narrative has deemed that her anger is justified and has redeemed her character. And she gets her victory lap by making the nearest other hot girl question her heterosexuality, sharing a sloppy kiss with her as the music triumphantly crescendos.

It's... a little self-congratulatory, honestly. But it's good. It's redemption for a character who had been mistreated for over a decade. And she punctuates the moment by being very, very gay where everyone can see it, no men anywhere in sight. Because this is her moment. And then she leaves the plot, on her own accord this time, while humming the hampster dance. What a legend. How could anything be wrong with this.

#scott pilgrim #spto #scott pilgrim takes off #roxie richter #roxanne richter #scott pilgrim spoilers #spto spoilers

[dbphantom]

[H2O s2 spoilers] Charlotte has literally done nothing wrong up until now and yet the show STILL paints her as such a bad person in Pressure Cooker.

She admits if she knew Don was Cleo's dad she wouldn't have shown up and looks visibly uncomfortable (but still trying to be polite) when she realizes it's Cleo's house and has to sit there and watch Cleo openly be rude to her mother by giving away a gift bought as a gesture of goodwill.

Charlotte KNOWS Lewis and Cleo are talking about her and instead of being rude and nasty about it (LIKE CLEO WAS IN EPISODE 3 WHEN SHE MADE ASSUMPTIONS) is just like "yeah, your dad is really struggling right now, you probably wanna go back in there and help him..?" like OMG that was so sweet of her. Yeah she interrupted their conversation, but come on she was trying to be nice. Characters interrupt each other all the time on this show- it's a teen drama, that's how it works. Despite everything Cleo had already done to her, Charlotte was still looking out for her dad.

Then Charlotte accidentally knocks a thing of flour into Cleo and goes up to her room after Cleo storms off to personally apologize for even BEING THERE because she can tell Cleo is Absolutely Furious about her showing up, and openly asks her if she can spend time with/date Lewis because she understands the two of them were together and she SEES how Cleo is reacting, and CLEO GIVES HER THE GO-AHEAD, BUT STILL TREATS HER AWFULLY ANYWAY. She didn't HAVE to ask for permission, but she does anyway!! AFTER APOLOGIZING FOR SIMPLY SHOWING UP TO HER MOM'S WORK EVENT.

and THEN at the end of the episode Cleo is like "even if it IS Charlotte (who I hate for literally no reason other than she stood up for herself when I tried to shame her in public for hanging out with my ex-boyfriend who I broke up with), it's Lewis's choice" but then gives her an actual death glare at the very end of the episode when Charlotte is literally just looking at her and evil music swells all because Charlotte smiles. WHAT!!!!!

IF YOU WANTED ME TO HATE CHARLOTTE SO BAD WHY DID YOU MAKE CLEO SO UNREASONABLE AND MEAN THIS SEASON AND CHARLOTTE AN ACTUAL SWEETHEART WHO HASN'T DONE ANYTHING WRONG OTHER THAN ACCIDENTALLY KNOCKING A BOWL OF FLOUR INTO SOMEONE AND PINING AFTER A GUY WHO IS- I CANNOT EMPHASIZE THIS ENOUGH- SINGLE!!!

anyway brb making a list of all the times the girls openly use their powers or are just straight-up reckless in public SOLELY IN SEASON 2 so i can compare it to them getting really mad at Charlotte and holding her to a huge double-standard because she used her powers to mess with Nate a little bit because HUUUUUUH??? if you have any examples hit me up because im currently doing a rewatch and im on ep 6 and already have a few... most notably Emma using her powers during the soccer game to dunk on a seven-year-old, but also Cleo using her powers at school to [checks notes] take a shortcut across a field with a sprinkler instead of just walking around. I have a few from memory as well that i just haven't gotten up to yet (like Emma and Rikki harassing Lewis at his job and almost getting him arrested because they left the gate open)

>>>>>oh i see... tumblr desktop does not warn you if you have over 30 tags. noted... rip my essay on how Lewis also isn't 100% in the right here [with Charlotte. with Cleo he did nothing wrong (being overbearing... ok i get it, but she could have sat him down and talked to him abt how she was feeling before immediately jumping to breaking up) and even took her aside more than once to ask her if she was okay, if this is what she really wanted, and where he stands with her- to which she lies to his face during and says everything's fine, she's just protecting the secret, she isn't jealous At All, she doesn't want to get back together] because he unintentionally is leading Charlotte on bc he's not communicating the best, and then when they DO get together he's clearly not as invested in their relationship as she is, or how Charlotte was kinda jumping the gun a little but while their relationship is kinda messy in itself, it just doesn't compare to how annoyed Cleo makes me this season, i won't lie. also i did rant about the marine park incident again. it still really bothers me lolol

#H2O: Just Add Water #H2O Just Add Water #H2O JAW #maybe im just not picking up on subtle facial cues but Charlotte is literally just a sweetheart in the first 90% of #this season. a sweetheart who also doesn't take shit from Cleo trying to embarrass her publicly and reading her diary. #you'd think Cleo would know how shitty it is to do that to a person given Kim did it to her but NO! SHE DOES IT ANYWAY!! #cleo is so immature in s2 it is SO embarrassing... especially the fishing rod bit... girl that is like 100 dollars at the cheapest!!! #i get she's the main character so she gets to get away with everything ever but MAAAAAAAAAAAAAAN...! #i don't think she ever actually apologizes to lewis or charlotte for the way she acted in this episode. solely to annette so she could get #the business deal for her dad... it's so SO shitty of her. like oh my god charlotte apologizes and you can't even give her the same grace #also THE ROD THING!! you unspooled his entire line (sending this massive bout of fishing line into the ocean) and dragged it into the #water where he likely wouldn't be able to get it back. and he's still SOMEHOW willing to show up to your house to speak in person and u #don't even give him the time of day to Actually Listen because you are being SO IMMATURE about EVERYTHING #Cleo you literally did ALL OF THIS TO YOURSELF!!!! PLEASE GET A GRIP GIRL!!!! #YOU broke up with Lewis. YOU embarrassed yourself trying to call Charlotte out and she stood up for herself. YOU threw a total fit over #Lewis and Charlotte fishing together to the point he felt it was necessary to talk to you in person. WTF!!!!!! <- angry #aaaAAAAAAAAA- #this is what i MEANT when i said I CAN'T WATCH SEASON 2 WITHOUT GETTING ANGRY!!! I C A N ' T #also minor thing but Emma being so OOC in this episode she doesn't try to stop them from harassing Annette and Charlotte with their magic #THAT IS OBSCENE EMMA WOULD'VE PUT A STOP TO THAT BEHAVIOR IMMEDIATELY!!! INSTEAD SHE JUST GOES ALONG WITH IT #as if Emma wouldn't be very willing to give Charlotte a chance after everything she saw Cleo do like 3 episodes ago reading her diary and #snooping on her life because she's 'sus' when she literally isn't she just has a crush on Cleo's ex-boyfriend #who. and i cannot emphasize this enough. CLEO BROKE UP WITH IN THE FIRST PLACE!!! #why does it take until EPISODE <S I X> FOR CLEO TO REALIZE *SHE* BROKE UP WITH LEWIS SO SHE'S TREATING HIM UNFAIRLY??? #SDKJGHKAFJGHAKLJHGKLJH AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA #im fine im fine. #spoilers #H2O spoilers #H2O JAW spoilers #H2O Just Add Water spoilers

[blondephenobarbitol]

If there's one thing TGWDLM fans are gonna do, it's think about the implications. And the implications of the opening number are crazy.

So. We know that the show isn't completely chronological since the opening number takes place before the meteor hits. So that song is a sort of "flash forward" moment. But when you think about it, we don't really know how far in the future it takes place.

What we do know is that by the time it's happening, Emma is infected. She has a little solo in it singing about how Paul is pining over a barista

And we know that this is meant to be an infected Emma specifically. Lauren had other characters in the show, if they wanted to avoid the Emma implication they would've just dressed her as one of those.

So we know this is meant to be Emma.

And Emma isn't infected until the very end of the show. She's dragged off stage during the credits. So since she's infected in the opening number, we know the number takes place after the events of the show.

Another important detail is that Paul is infected before Emma. He's the one that passes it on to her.

So back to the opening number, Emma is infected. Which means by just following a simple timeline, Paul must also be infected. He should be singing and dancing, right?

But that's not what happens. Paul misses his entrance.

If Paul is infected, then there's no reason he should be missing his entrance. Furthermore, if he's a part of a hive mind, there's no reason other members of the same hive mind shouldn't know where he is. They are literally all connected by one brain, and yet both Mr. Davidson and Bill express they have no clue where he went.

What I'm saying is that Paul is not infected. He was infected (again, we know that because Emma is infected and he was infected before her) but now he's not anymore.

I'm saying there's a way out of the hive, and Paul found it. That's the only explanation that makes sense given the facts of the situation. Sometime after the events of tgwdlm, Paul is able not only to break out the hive mind, but to hide from it.

And if he broke out, others could do the same. Maybe even Emma.

Edit because a countertheory has emerged: Yes it's possible that everyone is infected the entire time and the show itself is just Pokey replaying the events for the fun of it. But it seems unlikely to me. First of all, each of the Lords in Black has a distinct personality. They all are evil, but within that they seems to fall somewhere on a spectrum of "silly billy" to "prick." For example, Tinky is more of a silly billy. He toys with humans without much of a motive and more for just shits and giggles. But in every instance, Pokey's more on the extreme side of prick.

He's one of the few with an actual motive behind what he does. In Yellowjacket, it's confirmed that Pokotho hates the sound of anyone's voice except for his own. The events of TGWDLM don't happen because Pokey is bored, they happen because he is executing a plan. So I don't think that he would just have them play out their little scenario just to entertain him, especially just one small island? I just feel like he'd be more focused on world domination.

If the theory is that all this is happening after Pokey's already taken over the whole world, no one was successful in stopping him, then yes it's plausible, but still weird. There are a strange amount of things in that show you just think an eldritch god wouldn't include.

Edit 2: New evidence has emerged???

The Guy Who Didn't Like Musicals is loosely based off of Invasion of The Body Snatchers. Paul's last name is even a nod to the main character, Matthew. At the end of the film, Matthew survives, and continues living among the infected, pretending to be one of them. And wouldn't that be just such a fun little parallel...

Obviously it doesn't prove anything but the source material doesn't lie folks.

#the implications #starkid #hatchetfield universe #hatchetfield #paul matthews #emma perkins #tgwdlm #the guy who didn't like musicals #npmd #black friday musical #theory #fan theory #jon matteson #lauren lopez

[yumeka-sxf]

Japanese Linguistic Observations in Spy x Family - part 2

Part 2 - Anya's "Anya-isms"

I think Anya has one of the most interesting ways of speaking out of all the SxF characters. But like with Twilight's dialogue that I previously discussed, it can only be fully appreciated in the Japanese version. Probably the most noticeable thing about her dialogue is how it's written compared to the other characters.

Written Japanese is comprised of three different alphabets: ひらがな (hiragana) and カタカナ (katakana), which together are referred to as "kana," and 漢字 (kanji). Kanji are the characters that hold the meaning of words, while kana simply represent the various Japanese syllable sounds and don't have any meaning on their own (much like the letters of the English alphabet). There are only about 100-ish total unique kana symbols, however, there are over 2,000 kanji in common use today. So Japanese children will start out learning kana and then learn kanji gradually during their school years. This is why Japanese children's books are typically written only or mostly in kana. This is also why manga and books aimed at a younger audience will have kana "translations" of kanji written above kanji characters, which are called furigana.

With that in mind, it's not surprising that all of Anya's dialogue in the Japanese version of the SxF manga is written entirely in kana. Even though using kanji in her dialogue wouldn't necessarily mean she knows kanji, reading a character's dialogue only in kana definitely gives off childish vibes – it conveys feelings of youthfulness and innocence, like "they're speaking only in kana because they don't know the kanji for these words…they're just a little kid, after all." At least, that's the feeling I get when I read Anya's dialogue. Though I haven't read enough manga in Japanese to say for sure, it seems like this concept of making little kids speak only in kana is not unusual, as there's at least one other example I know of: a manga from the mid-2000s called Yotsuba also has a titular 5-year old whose dialogue is written only in kana.

What's also interesting is that all of the other Eden kids speak "normally," using kana and kanji properly in their dialogue. This helps to convey the fact that, despite Anya being roughly the same age as them, their "rich family" upbringing has forced them to grow up faster. In the below panel, you can see how Damian's dialogue uses kanji (with furigana translations) while Anya's uses only kana, even for words that have kanji.

Interestingly, I found at least two cases where Anya does use kanji in her dialogue: when she's calling out the name of her big "Arrow of Light, Seize the Star" move during the dodgeball game, and when she calls out her "Lighting Bolt, Deliver my Aid" move when she tries to throw Yor's weapon back on the deck in the cruise arc. As you can see in the below panels, the names of these "moves" is written in kanji (with furigana translations). This makes sense not only because this is parodying shonen series where the characters shout out the names of their moves, but because it emphasizes how determined Anya was at these moments.

But going back to how Anya's speech compares to the other kids, another thing that stands out is that she speaks very "plainly." Her grammar is (mostly) correct, except for a few mistakes you'd expect a little kid to make. But she uses pretty much no colloquialisms, almost as if she knows the language but lacks the experience for using it in normal social interactions. I don't think this is unusual for a kid her age who's still learning, but it definitely stands out when compared to her classmates. For example, in the below panel, Becky uses normal interjections and other colloquialisms in her speech, like "ne" (ね), "wa" (わ), and "yo" (よ), which are all standard Japanese linguistic devices for softening or emphasizing your sentences. However, Anya doesn't use things like this in her speech. Again, this makes her speech come off as very plain and abrupt, almost like she's not a native speaker.

She also refers to herself in third person all the time in the Japanese version. In fact, I don't recall her ever using an "I" or "me" pronoun. I don't know why the English version of the manga doesn't keep this characteristic of her speech. I think it's very important in highlighting the childish aspect of her personality.

Putting all this together – the fact that she doesn't use typical colloquial speech and refers to herself in third person – really emphasizes the childish, naive, and almost baby-like nature of her character. I'm curious if Endo made her speak this way simply to show what a little kid she is compared to her classmates, or if it will somehow tie back to whatever roots she has in classical languages that he keeps hinting at. Regardless, as I mentioned in my full Anya analysis, what she lacks in speech and school smarts, she makes up for in empathy and resourcefulness.

Besides all this, Anya does make typical speech mistakes a normal kid would make, like mishearing words or saying things wrong. She mostly uses casual speech, but does try to use keigo (polite speech) on occasion, though not always correctly. For example, she says "ohayaimasu" (おはやいます) for "good morning" instead of "ohaiyou gozaimasu" (おはようございます).

But the most consistent "mistake" she makes (though it's not really a mistake) is what she calls Loid and Yor – "chichi" (ちち) and "haha" (はは) respectively.

Japanese has many different words for relatives depending on whether you're talking about your own relatives or someone else's, and whether you're talking to them or about them. "Chichi" and "haha" are the general, neutral terms for "father" and "mother," and are also used when talking about your parents to someone else. However, they're not used when talking directly to your mother and father. There are many other words for that, the usual ones being "o-tou-san" (お父さん) and "o-kaa-san" (お母さん), or some variations of these with different honorifics. Damian refers to his dad as "chichi-ue" (父上) which is very formal, while Becky calls her dad the actual English word "papa" (パパ) which is very informal and normal for kids to use. But again, "chichi" and "haha" are typically only used when talking about your parents, not to them the way Anya uses them. This started from the very first chapter where Loid asks her to call him something that sounds "elite." He originally suggests the very formal "o-tou-sama" (お父さま), but when Anya says "chichi," he doesn't bother to correct her.

Hearing a little kid call her dad and mom "chichi" and "haha" is kind of like calling them "my father" and "my mother" even when speaking to them directly – it's not wrong necessarily, just strange. But again, this serves to further emphasize the childlike nature of Anya's character.

<- Return to Part 1

Continue to Part 3 ->

#spy x family #sxf #spy family #spyxfamily #anya forger #sxf manga #sxf analysis #sxf meta

[bloodbenderz]

there was a lot of mistakes made in the live action but the worst one without reservation was that the creators did not understand patriarchy and they did not understand women's liberation outside of an american context ( or any context if we're being honest )

it's easy to see on a surface level how that fucked up katara's whole character how she wasn't allowed to have her character defining moments how she wasn't allowed to be angry or even excited or impulsive but i think it doesn't really become clear how deeply wrong the show's conception of gender & patriarchy is (and the implications for the political landscape of the show) until you get into how they destroyed sokka's character too

sokka's whole Complex is born of patriarchy. i'm not trying to do men's rights advocacy here but in my experience when a people is under constant threat, constant assault, constant violence (much of which is gendered) and the traditional "protectors" or "providers" of that people are men, the masculine role becomes protecting women and children. i am not saying this is a good thing or a bad thing but it is true the narrative of violent resistance is overwhelmingly about men. to be a man in a time & place like this means fighting to protect your women, & to die for them is honorable. that is where sokka gets this idea that he has to be a warrior & he has to fight & if necessary die for katara & the rest of the tribe. it's about duty. everyone has a part to play, a role to fill

everyone including women! which is the other half of this. the duty of women is to keep up the home, to maintain a country worth fighting & dying for, to raise children so that the community can have a future. it becomes especially obvious in the context of the show when you see how the nwt lives & in specific how yue lives and dies.

many women participate in patriarchy. many colonized women participate in patriarchy. most of my family comes from or still lives in a country completely devastated by colonialism & its aftereffects & many women in my family believe wholeheartedly in the idea that everyone in the house has a role to play. it's not because these women are stupid or they hate themselves. but when you grow up believing that men & women are fundamentally different, and seeing that women are in specific danger because of their gender, it actually makes a lot of sense to expect the men in your family to protect you, and to raise your sons that way.

in practice that means that men aren't really expected to do anything around the house, especially when there's no actual danger. my aunt literally 2 days ago told me this lol like she doesn't make her sons do anything bc she wants to let their lives be easy before they have to go out into the world & take care of their wives & children.

what does women's liberation look like when an entire community is under threat? colonized women have been dealing with this question as long as colonialism has existed. the writers of this show don't even pretend to understand the question, much less to formulate a thoughtful response to it. they just say oh, well, katara, yue, & suki are all the exact same type of liberated girlboss for whom patriarchy is no significant obstacle.

which brings us back to sokka lol. sokka, at the beginning of the show, has completely subscribed to patriarchy, has integrated it into his sense of self. he has a lot of flaws, but he also has a lot of really good traits. his bravery, sense of honor, loyalty, work ethic, selflessness, all of this came from him striving to be a good man. he would die to protect katara, because she's his sister. he also has her wash his socks & mend his clothes, because she's his sister. even after he meets suki, humbles himself, & expands his view of the role a woman can play, he doesn't completely disengage from patriarchy. at the end of the day he believes in his soul that a good man's duty is to fight & if necessary die for his people, & that's exactly his plan. this is a very real psychic burden. pre-aang, it's also largely fictional & completely ridiculous. we're SUPPOSED to think it's ridiculous. he's spending his time training babies & working on his little watchtower. the swt hasn't been attacked since their mother was killed because it has been completely stripped of all value or danger it once held for the fire nation, & everybody knows this. there is very little "men's work" left, aside from hunting & fishing, which is so damaging to sokka's self image he resorts to toddler bootcamp to feel useful. the contradiction here is comical. it's also completely devastating. that's supposed to be the fucking POINTTTT like colonialism & patriarchy convinces this young boy he needs to be a soldier & die for his family. & you know what he does? He acts like a young boy about it. they didn't just leave this unexplored in the remake they completely changed the circumstances to 1. make sokka incompetent for some reason 2. make his "preparations" seem less ridiculous. Which ruins the whole character. Possibly the whole show.

all this makes the writing of katara & the other women infinitely more offensive to me. katara is a good character because she believes in revolution. she wants to liberate her people from imperialism, & she wants to liberate women from colonial gendered violence, traditional patriarchy in her own culture, & the complicated ways those things interact. it is LITERALLY the first thing you're supposed to learn about her. she's the PERFECT vehicle to address the question of women's liberation under colonialism. one of the things i was most looking forward to seeing in this show was how labor is distributed in a place where almost everything that needs to get done is "women's work" & how it affects katara & sokka's day to day relationship when their lives weren't at risk constantly. what actually are her responsibilities every day, & how do they compare to sokka's? how does her grandmother enforce these traditions with katara & sokka, & how is that informed by her own experiences in the nwt? what does patriarchy look like in a tribe made up of mostly women & children? it's so important to who katara is & what she believes! but why bother exploring any of that when u could instead make her a shein model who has nothing in common with the source material except her hairstyle lol.

yue is actually even worse to me bc yue is supposed to be sokka's counterpart. she's supposed to show you how destructive it is for women specifically to internalize this gendered duty so completely. it sucks for sokka, but he is a man & thus his prescribed role gives him some agency. yue's role affords her no agency whatsoever, & this is the POINT. to make her someone who's allowed to break things off with her fiance if she likes, who sneaks off to do what she wants when she's feeling stressed, whose will is respected as a monarch, like what is even the point of yue anymore? in the original the whole reason she was even allowed to spend time with sokka was because her father knew she was with a trustworthy boy. her story completely loses all significance when the dimension of patriarchy is removed from it. the crux of her whole story is that she is not just a princess but the literal & spiritual representation of the motherland. that's what women are supposed to represent during wartime, at the cost of their own sense of self. in order to fulfill her duty to her people she gives her life to them in every single way that matters.

it's just so unbelievably frustrating (and WRONG) that the only types of characters for these writers are "soulless misogynistic fuck" and "liberated american-style feminist." there's no nuance at all! they don't bother exploring how real love manifests in patriarchal communities, & how patriarchy defines the limits of that love. or how for so many of these people their idea of goodness, morality, & honor is gendered. or how imperialism affects not just individuals but entire cultures & their conceptions of gender. but why do any actual work when you could completely change sokka & katara's general demeanors, their entire personalities, & their roles in the tribe so you can dodge any & all nuance

Anyways. in conclusion. it was bad

[ofswordsandpens]

Okay compiling my most critical opinions on the pjo show so far (episodes 1 & 2)

The Gods' Conflict, Foreshadowing, & Big Three Kids

The show has seemingly dropped a lot of the foreshadowing and threat regarding the gods impending war over the theft of the lightning bolt. In the book, Percy remarks about how the weather's been inexplicably weird and extreme. When he gets to camp everyone is on pins and needles about something and they don't want to talk about it but its still very present. By the time he's claimed as a son of Poseidon and everyone's like "oh fuck" and then Chiron finally explains to Percy that the gods think he's the lightning thief, everything clicks into place for the reader. It all makes sense why everything seems so wrong... because things are wrong. Meanwhile in the show, that doesn't carry through as much, so the reveal of the conflict between the gods and why that's a big deal falls flat in comparison imo.

They dropped/stalled the foreshadowing of the fates and the cutting of the string. They could very well include this in future episodes, and probably will, but I think the timing of it - Percy seeing this before he even knew he was a demigod - again carries some hefty significance and helped set the foreboding tone of things being wrong even from the beginning.

They did drop Zeus's attack on Percy in the minotaur battle completely, which does disappoint me. In the book, its lightning that blasts the car off the road. In the show, Sally seemingly loses control of the car. That change is pretty significant, because it's again losing the power of RR's foreshadowing in the book. The attack on Percy outside the camp borders was a duel attack from Zeus and Hades.

Finally, I don't like the changes they made to Percy's claiming scene, namely, the reaction from the rest of CHB. Percy being a son of Poseidon is a huge deal. When Percy's claimed, the attitude is very much begrudging reverence paired with genuine fear of what it means and what he represents. In the book, Percy is claimed. People gasp. Everyone kneels. Annabeth says, "This is really not good." In the show, Percy is claimed. People... stand there? Annabeth smiles - she's going to get her quest. The only person who has the most outright negative reaction is Luke. I won't go so far to say this is out of character for Annabeth, but it is focusing on an entirely different aspect of her character in the moment, and what the audience gets from Percy's claiming scene here, the tone, is now different from the book. Basically, the reverence and fear don't really carry across to the show, which I think is important.

The phrase "forbidden child" slaps tho.

2. Gabe's Characterization, Sally's Characterization, & Why the Changes do Make a Difference

I'm going to say this with great care: The show has absolutely depicted an abusive relationship between Sally and Gabe. The show has shown Sally to be a strong woman who would do anything for her child. The show has shown Gabe to be a controlling, toxic man.

What they have depicted in the show does not read like the characters and dynamic in the books.

Book Gabe is a violent, menacing drunk. He is so disgusting and vile that monsters avoid him. This is overwhelmingly apparent from the second Percy gets home in the book, even before he is aware of the physical abuse Sally has been facing. Percy has already been dealing with physical abuse from him, amongst other things (edit to be more specific: this is including verbal, emotional, & financial abuse). I've already spoke to it here, in-depth, so I'll try to keep it short but all of this has not been translated accurately to the screen. (Is this to say that a person must be overtly abusive to be abusive? No. But does this character on-screen feel like Smelly Gabe? No.) These things have shaped Percy (and Sally) in very specific ways. As others have mentioned: Percy cannot stand alcohol. He meets Dionysus and is reminded of his step-father. He gets to Tartarus and the air reminds him of Gabe.... The character on screen, while abusive, does not share this presence at all, and that makes a difference.

Edit: To emphasize once more, I am not saying that the show has not depicted a realistic portrayal of abuse. It has (verbal, emotional, & financial so far). It has also distinctly changed the tone and Gabe's presence from the book, to the extent that it no longer feels like the same character and that does have a rippling effect on the dynamics he shares with both Sally and Percy.

3. The Lack of Annabeth

Annabeth in the show is just like... really not as present as she is in the book so far, and I'm just kinda like, why lol?

Annabeth in the books is already way more involved in Percy's life. She was in the infirmary feeding Percy ambrosia after the attack (ulterior quest motives lol), she's the one who lead Percy around camp and re-explained godly parentage to him - and its a moment where she's very sincere with him, and even trying to help him! Instead these moments are given to Chiron and Luke, which I do get the merit of, but still, these were her moments!

Annabeth in the books had already surmised that the gods were fighting, something was stolen, and the something bad was going to happen, all before Percy had even been claimed. And she shared that with him! Again, the loss of foreshadowing and little bonding moments has me :(

I'm a little worried how they're going to deal with her crush on Luke because its pretty central to her character in the books! It helps Luke to manipulate her and also keeps her from admitting he's done something wrong. Also, it was very sweet and funny reading her get flustered - It drove home the point that she was just a kid with a crush that she didn't know how to handle. But in the show Luke spoke to her and I was expecting there to be some sort of reaction to it and there just... wasn't? (This is not something I'm laying at Leah's feet btw! Only the writers/directors!) We're only two episodes in tho so maybe we'll see it some more moving forward.

4. The Minotaur Battle

Again, I've already spoken about this in depth here but !!

The lack of Zeus's lightning strike, them all coming to a standstill and just chatting instead of running for their lives, Grover being awake and just sort of off to the side watching the fight, Sally being like "Promise Me Grover Swear it"... it all just doesn't ring right to me

I wanted more panic, more terror, more urgency. Higher stakes. I wanted Grover unconscious, I wanted to see Percy drag him into camp, and I wanted to see more of Percy's grief alongside his rage. Like the book did.

The pacing in the show here, and just overall, is weird

5. Other Stuff

Mrs. Dodds fight kind of fell flat too. It was honestly too sudden and Percy killing her in the show seemed even more accidental than in the book lol. Like, accidental impalement vs intentional swing of the sword.

They really had show Grover throw Percy to the wolves and not just gaslight him, but low-key have a part in getting him expelled? Not sure how I feel about it tbh.

More New York. I wish we had gotten the part of Percy taking the bus home with Grover included cause like? Him ditching Grover was funny, but it would have been the perfect opportunity to show Percy traveling through New York and establish it has his home. Shots of him looking at the city, walking the streets, interacting with people near his building.. yeah.

More Montauk too tbh. Like more shots of him and Sally on the beach rather than just the cabin.

Nectar and Ambrosia! Unless I missed it, which I might have, why have we still not gotten an onscreen depiction of it yet lmao.

#I'll add more tags/thoughts to this later lmao but! #pjo adaptation #pjo #percy jackson #pjo show crit #had to expand more on Gabe cause im already getting comments like: /you know there's more abuse than physical right?/ #yes #I never said there wasnt #I never said that was the only form of abuse percy and sally faced #I said both show Gabe and book Gabe are abusive #but its played differently #tone wise #presence wise #and that matters